Composition in Perspectives

Elodie Fourquet

Computational Aesthetics 2008

Motivation

Goal: composition in a realistic image.

I Imaging versus modelling software.

I Renaissance art practices.

1935 Ford Woody by Jim Hatch Illustration. An engraving of Durer.

www.khulsey.com

Composition in Modelling Software

Graphics Course T-shirt image done with Houdini. Modelling software interface.

Perspective in Imaging Software

Kevin Husley Illustration Inc.: Empress of the Seas’ Cruise Ship Cutaway

(Software: Adobe Creative Suite, Illustration Time: 960 hours).

Example of Artist Composition

Scott More, illustrator, Coffee Stop. Painting Step-by-step.

http://www.scottmooreart.com/

Traditional Composition

Traditional artists prefer imaging over modelling software.

I Composition is hard and indirect in modelling software.

I Artists are working in image plane & depth simultaneously.

But, depth tools are absent in imaging software.

I Importance of construction lines.

Kevin Husley Illustration Inc.

Metro Rail Project

Traditional Composition

Traditional artists prefer imaging over modelling software.

I Composition is hard and indirect in modelling software.

I Artists are working in image plane & depth simultaneously.

But, depth tools are absent in imaging software.

I Importance of construction lines.

Kevin Husley Illustration Inc.

Metro Rail Project

Renaissance Art

I Renaissance artists mastered perspective.

I Renaissance artists composed in the image plane.

I Elkins: from an unitary perspective to a pluralist approach.Kubovy: non-rectangular bodies with central projection.Kemp: more than ten constructions for perspective.

An engraving of Durer.

Renaissance Art

I Renaissance artists mastered perspective.

I Renaissance artists composed in the image plane.

I Elkins: from an unitary perspective to a pluralist approach.Kubovy: non-rectangular bodies with central projection.Kemp: more than ten constructions for perspective.

An engraving of Durer.

Renaissance Art

I Renaissance artists mastered perspective.

I Renaissance artists composed in the image plane.

I Elkins: from an unitary perspective to a pluralist approach.Kubovy: non-rectangular bodies with central projection.Kemp: more than ten constructions for perspective.

An engraving of Durer. Figure from Perspective Artistique, by Pierre Olmer 1948.

Renaissance: Image Composition

The Baptism of Christ of Francesca, c. 1460. Composition according to Lavin.

Renaissance: Collage with Realistic Depth

The School of Athens of Raphael, c. 1510

Renaissance: Collage with Realistic Depth

The School of Athens of Raphael, c. 1510

Renaissance: Collage with Realistic Depth

The School of Athens of Raphael, c. 1510

Renaissance: Collage with Realistic Depth

The School of Athens of Raphael, c. 1510

Renaissance: Perspective and Composition

Piero della Francesca, Flagellation of Christ, after 1444.

Composition Framework

Method to combine composition and perspective.

I Set a basic geometric pattern on the image plane.

I Build a tiled floor within the image plane pattern,which fixes depth & view parameters.

I Fill in with volumes and panels.

Composition Framework

Method to combine composition and perspective.

I Set a basic geometric pattern on the image plane.

I Build a tiled floor within the image plane pattern,which fixes depth & view parameters.

I Fill in with volumes and panels.

Richard Talbot’s images from Speculations on the Origins of Linear Perspective, 2003.

Composition Framework

Method to combine composition and perspective.

I Set a basic geometric pattern on the image plane.

I Build a tiled floor within the image plane pattern,which fixes depth & view parameters.

I Fill in with volumes and panels.

Richard Talbot’s images from Speculations on the Origins of Linear Perspective, 2003.

Compositional Grid: Square Subdivision

Definitions: VP, Horizon and Baseline

m.o m.oB

HVP

m.om.o

H

B

VP

Floor: Transversal From Distance Point

DPADPBDPC

f.t0f.t5

f.o0f.o1f.o2f.o6 . . . .

f.p0

f.p1

f.p5

. .

Floor: Different Views

I Distance Point selection.

I Image Edge selection.

DP on frame DP outside the frame DP close to VP

Walls: Setting Up

I The inscribed square is used for intermediate back wall.I Lines from VP to intermediate wall corners are used.I The room volume is completed from floor definition.

Walls: Different Views

I Distance Point location affects the volume shape.

Cube looking volume. In-between volume Tunnel looking volume.

Blocks

I A block is a tile elevation.

I Fixed height across each floor horizontal.

I Recursive construction.

I For correct occlusion, ordering is needed.

Demo

Results

Results

Results

Masaccio, The Holy Trinity, c. 1428.

Results

Based on Jan van Eyck, Madonna and child, c. 1437.

Results

Contribution: Framework

I Framework inspired by artistic practice of Renaissance.

I Composition in an image presenting depth is possible.I Depth is not strictly defined,

an image corresponds to multiple projections.I Depth effect is produced by key relations.I Floor works as an ‘artistic composition device’.

I 3D-like manipulation within compositional framework,by changing distance point and floor divisions.

Paintings of Sandro Botticelli c.1480.

Future Work

I Increase flexibility: changing VP, horizon line position...

I Additional 3D-like manipulation and content:

I Rotation of blocks & of panels into depth.I Tools for relative scale.

Future Work

I Increase flexibility: changing VP, horizon line position...I Additional 3D-like manipulation and content:

I Rotation of blocks & of panels into depth.I Tools for relative scale.

Stimuli from panel rotation experiment.

Paolo Ucello, Hunt by Night, c.1460.

Thanks